Death is the ultimate dramatic device, but great art doesn't emerge from strong devices alone. In Take, the directorial debut of Charles Oliver, the impact of a single, startling tragic death immediately conveys the sense of watching a gravely serious movie, which is definitely the case. However, having immediately provided a tone, Oliver fails to follow up with a story powerful enough to justify it. That's not to say that the experience Ana (Minnie Driver) goes through after her son dies in a freak accident before the start of the film isn't relentlessly bleak, but there's hardly anything distinctive about the circumstances to make viewers care any more than they would if they were glancing at it in the morning headlines.

Still, Olilver has made a quietly observant work solely driven by the specific needs of two downtrodden protagonists with completely believable motives. In flashback, we learn that Ana struggled with her son's elementary school, which wants to put him in a special needs program. Meanwhile, she has a hard time communicating with her husband and finding decent work to get by. Elsewhere, reckless gambling addict Saul (Jeremy Renner) destroys his life in a whirlwind of debt. His misfortune, as it's shown in early scenes at a prison where Saul awaits execution, will lead him to accidentally murder Ana's innocent child, Jesse (Bobby Coleman).

And you thought Wall-E was political. JibJib, the interactive e-card site founded by brothers Evan and Gregg Spiridellis, have returned to the scene that originally brought them fame. The duo first received national notice during the 2004 presidential campaign, when their riotous spoof This Land presented the two candidates (and a variety of secondary players) as rotund heads on animated bodies spouting rhetoric in rhythmic harmony. Since then, the JibJab site has placed more focus on the e-card business, but now it's back to the good old days with Time for Some Campaignin', a jolly tune to set the stage for the Obama/McCain face-off in the weeks to come.

The new video is similar to This Land in that it opts not to spoof either candidate more than the other, instead focusing on the larger campaigning process. It's hard not to laugh at the goofy visuals and smartly composed lyrics (especially those involving the Clintons), but it seems to me that the Spiridellis' work will never attain the degree of insight offered by the satire on The Daily Show (or The New Yorker, for that matter) because of this resolutely non-partisan approach. What do you think?

Yes, we're heading back to the Cuban Missile Crisis for a new film. However, the spotlight won't be focusing on the Fidel Castro-led island just south of Key West. Variety reports that Fox 2000 has grabbed the screen rights to Michael Dobbs' book called One Minute to Midnight: Kennedy, Krushchev, and Castro on the Brink of Nuclear War. Changing things up a bit, so as to not tread on already familiar cinema territory, the film will focus on an incident that occurred at the same time -- up north in Alaska.

While all the main players were tensely trying to avoid a nuclear war, "a U-2 pilot took off from Alaska, lost his bearings, and ventured inside the Soviet Union." Talk about a really dumb mistake. So the guy figures out that he's gone off-course, his plane is about to run out of gas, Soviet planes are waiting to take him down, and he's got to try to get back to safe land. Oh, and just in case that wasn't enough fear for the poor dude, he'd previously spent 600 days as a POW in Korea.

It'll be a while before this hits the screen, but for now, you can go out and read the book for yourself -- this is actually one of those texts that got picked up after its release.

When Josh Brolin takes a night off from playing a young George W. Bush to get arrested in a bar, the jokes practically write themselves. (Method acting, anyone?) That's what happened in the wee hours of Saturday morning in Shreveport, La., as Brolin, co-star Jeffrey Wright (who plays Colin Powell), and five crew members from Oliver Stone's biopic W. were arrested at the Stray Cat bar and taken down to the big house.

The Associated Press's account is sparse, so we turn to Shreveport's KSLA News 12 for more details (and thanks to Jeffrey Wells for the link). Seems it was closin' time at the ol' Stray Cat, and Brolin and his pals wouldn't leave, despite bein' asked twice, and they were bein' rowdy. So the bar staff called the police, who arrived just after 2 a.m., whereupon there was a bit of a scuffle, and a fellow named Eric Felland got arresting for remaining in the bar, public drunkenness, and resisting arrest. Brolin, Wright, and the other W.-affiliated folks reportedly interfered with the arrest, so they got arrested for that misdemeanor.

The Shreveport Times reports that Brolin posted a $334 bond and was free to go. Wright and the other four arrest-resisters had the same price on their heads. The guy who was being arrested in the first place, Felland, who is a lighting technician on the film, had a $752 bond. It's unclear from the early news reports how long it took everyone to get out of the clink, but one assumes they didn't have to fester in jail too long. I like what one of the commenters at Hollywood Elsewhere said, that it would have been great if James Cromwell, who plays George Bush Sr., had had to come bail everyone out.

When it comes to Hollywood movies, Chinese censors have always been a little strict. Case in point: The State Administration for Radio, Film and Television tells Variety that the upcoming release of The Mummy 3 Tomb of the Dragon Emperor is still pending until Universal makes unspecified changes to the flick. The censors didn't give any details about what would have to be cut from the film, but speculation has it that the source of the problem is "usually themes involving ghosts are taboo in China".

Emperor sets the new and improved O'Connell family (Brendan Fraser, Luke Ford, and Maria Bello) smack dab in the middle of another adventure battling a tyrannical emperor (Jet Li) and his legion of undead armies. Universal already made some concessions to the Chinese government in exchange for permission to shoot on location. According to Variety Universal was urged to make the film, "less political and more focused on fantasy than real history" -- Less political? Now that's a word I would have never associated with the Mummy franchise.

A flack for Universal has already released a statement saying, "Universal does not anticipate any obstacles to clearing the film for China and looks forward to releasing "The Mummy: Tomb of The Dragon Emperor" in the country where it was set and shot." Translation: We just spent $145 million bucks on this movie, and we want some of those Chinese box-office dollars. Emperor is just the latest Hollywood production to get a rough deal from Chinese censors, but at least they are in good company. On the upside, I guess the Chinese will never know what they're missing.

The Mummy 3 Tomb of the Dragon Emperor opens on August 1st, 2008.

Call it performance art, savage prank behavior or audacious social satire. Call it whatever you want, but there's no question Sacha Baron Cohen is at it again. As Erik reported back in March, the Borat star began surfacing as his Bruno alter-ego in a variety of absurd situations likely intended for the movie starring the effeminate European character. Wearing chains at a Kansas church? Check. Weirding out Ben Affleck? Check. Airport dancing? Yep. Now, bizarre reports of a cage match in Arkansas, where attendees paid for admission expecting to watch a fight and instead witnessed two men get naked and lock lips, suggests Cohen is still at it, more than three months down the line. Not only that, but he appears to have pulled the stunt twice: First on June 5 at the Four States Fair Grounds in Texarkana, then again at Fort Smith's convention center, where a character named "Straight Dave" apparently selected a planted audience member to challenge him.

Whether or not you agree with Cohen's brash style -- he claims to take inspiration from Michael Moore's stunts --
the actor definitely constructs his gags with very specific ideas in mind. Borat took a stab at American stereotypes of foreign cultures, but Bruno looks like it's geared more towards attacking homophobia -- specifically as it manifests in middle America. However, it's hard to say whether or not such excessive spectacles will manage to correct misinformed perspectives or reinforce them.

Could a cute children's movie about an adorable furry animal ignite change in a country noted for its official cultural restraints? Kung Fu Panda has enjoyed robust returns at the Chinese box office, which prompted a top cultural advisor to bemoan: "Why didn't we make such a film?"

As reported by Variety, Wu Jiang, a key member of the CPPCC Standing Committee, noted: "The film's protagonist is China's national treasure and all the elements are Chinese." The committee recommended that the government "relax its control in order to accelerate the reform and opening up of the cultural market and to enhance China's cultural influence in the world."

Though China produces hundreds of movies every year, most have been described as "stodgy propaganda pics" -- check out a recent post by Grady Hendrix at Kaiju Shakedown to see a few examples -- and only a select few achieve visibility at international festivals. Director Lu Chuan (Kekexili: Mountain Patrol and the upcoming Nanking Nanking) says the problem lies with the government itself, which stifles the creativity of Chinese filmmakers. He wrote in China Daily that he tried to make an animated film for next month's Olympics in Beijing but finally gave up: "I kept receiving directions and orders on how the movie should be like. The fun and joy from doing something interesting left us, together with our imagination and creativity."

Will the Chinese government be making any changes soon? Don't count on it. Sun Zhonghuan, another member of the CPPCC Standing Committee, says that Hollywoood studios have another big advantage: Kung Fu Panda's $130 million budget is nearly 100 times the cost for an average Chinese film. "We might have the ideas," he said, "but we lack the structure to realize them."

From global warming to toasting a presidential candidate? Davis Guggenheim, who won an Academy Award for his documentary An Inconvenient Truth, is reportedly working on a film about Senator Barack Obama that will be shown during the Democratic National Convention in late August, according to The Huffington Post.

Guggenheim was seen accompanying Obama during his visit to Butte, Montana, on Friday afternoon. Guggenheim said only that he was traveling with his son and doing some interviews, though a tipster told a reporter the film shoot was on behalf of the Democratic National Committee and the convention. An Obama staff member later told the New York Post that "elements of what [Guggenheim] is shooting may be used," but declined to be more specific.

The Huff Post article says that Davis Guggenheim's father, Charles Guggenheim, chronicled John F. Kennedy, though IMDb shows that Charles Guggenheim won an Academy Award for Robert Kennedy: Remembered, a live action short subject that was compiled from footage that Guggenheim had shot over the years.

An Inconvenient Truth didn't move me as it did many others, but it would be interesting to see if Guggenheim could make something that would liven up the convention broadcast. No word on whether Senator John McCain has recruited any Academy Award-winning documentary filmmakers, though Variety described him as "a major movie freak" back in January 2007; he picked John Frankenheimer's The Manchurian Candidate as his favorite political film.

Even the weirder artists of the twentieth century have been attracted to the allure of Hollywood filmmaking, and Salvador Dali was no exception. In the fall of 1941, the surrealist painter hosted a masquerade party at Pebble Beach during one of his regular visits to the town. Called "Surrealism Night in An Enchanted Forest," the fundraising event, intended to assist European refugee artists, brought out a number of stars, including Bob Hope and Ginger Rogers. It was here, the story goes, that Dali became attached to a major studio production called Moontide. The great German emigre Fritz Lang was hired to direct the movie, and asked Dali to create a three-minute nightmare sequence for the film. Unfortunately, after the incident at Pearl Harbor later that year, Twentieth Century Fox deemed the project too bleak. Lang was replaced, and Dali's nightmare sequence went with him.

Although inspired by the movies, Dali didn't always have the easiest time making them. He would get another chance to inject his hallucinatory vision into American cinema with the hypnosis scene in Alfred Hitchcock's Spellbound, but it's his unrealized projects that truly indicate the scope of the painter's ambition. So many ideas, such little time. Dali: Painting and Film, a breathtakingly unique exhibit currently on display at the Museum of Modern Art in New York, surveys Dali's completed cinematic works in addition to tidbits from the ones that never came to fruition. Marvelously structured to show how his paintings were intentionally cinematic, the exhibit contains all the obvious highlights from Dali's movie career alongside lesser-known productions. The importance in film history of his collaborations with Luis Bunuel remain uncontested; two large screens in separate rooms showing Un Chien Andalou (where the opening eye splicing retains its original gross-out impact) and L'Age D'Or attest to that. Fewer visitors, however, might know about Dali's collaboration with the Marx Brothers on a deliriously strange movie that sounded too good to be true.

Hey, remember the weeks and months approaching the recent writers' strike, when all of Hollywood panicked and began rushing projects into production and feverishly coming up with contingency plans? Have you wondered why the looming Screen Actors Guild strike and the ongoing SAG/AFTRA catfight have not really provoked a similar hysteria? The New York Times' answer: because producers are calling SAG's bluff.

Or, in the Times' more tactful language: "the film industry's needs have overwhelmed any conviction that actors will actually walk out." That's its explanation for why big, expensive productions like Terminator Salvation, Transformers: Revenge of the Fallen and Angels & Demons are steadfastly forging ahead despite the risk that a strike will send most of their casts off the set, leaving them with half a movie.

Could just be hubris, or willful stupidity. I haven't followed the recent guild developments closely enough to be able to speak with any authority on whether there will be a walkout any time soon. But look: the idea behind election markets (for example) is roughly that the best way to forecast the future is to see where large numbers of people are willing to put their money. That this time Hollywood bigwigs -- in particular, many of the people who will have a say in the outcome of any contract negotiations -- don't seem to be blinking in the face of a possible strike suggests to me that we aren't heading toward one, or at least not a protracted one. If we are, then it looks like a lot of people are going to be out a lot of money.